As this movie goes on, and the narrative unfolds, you are likely to be saying to yourself, “Oh my God,” every 10 minutes or so. “Three Identical Strangers” is the sort of movie that you should ideally see without knowing too much about it or what happens in it. There will be a few spoilers ahead in this review, but this movie contains so many revelations that writing a little about the first few of them will really just be the tip of the iceberg.
There is value in seeing the brothers, well-rehearsed in their verbal paces though they obviously are, in their present-day form, as well during their media peak. . . . There are some decisions I found flat-out irritating: the increasing application of Schindler’s List violin in Paul Saunderson’s score to hammer home the tragedy of it all in the third act, the hand-holding decision to show again, at the end of each act, footage we’ve just seen not five or ten minutes earlier in a new context.
While this is standard talking-head TV, Strangers is distinguished by its persistent approach to the investigative documentary, framing a story but not content to leave it in an easy box. Technically it’s competent, with a distinguishing feature being the archival footage of the triplets, bringing their sweet smiles easily back to life, and a probing soundtrack from Paul Saunderson helping distract from the artificiality of the reconstructions.